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/ 吳俞萱 |
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粗胚裡的荒界──《潛水鐘與蝴蝶》（Diving Bell And Butterfly）
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出品：法國 / 2007
發行：福斯
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| 鮑比不會甦醒的身體在清晨靜待成光裡一只棄毀的粗胚，沒有色澤，來不及成型，時間裂開了，剩它和它構成的空間。置身在這片粗胚裡的荒界，所有情緒都被鎖在沒有表情的身體裡，直到喧擾繽紛的過往全關在潛水鐘外，他握緊單向通往外界游絲般的細線，他看、他聽、他等待、他面對，在毀棄之後不是死亡的荒界裡經歷完整的時間，竟鬆落無人察覺無人停留的他自己的現實。鮑比終於明白沒有什麼能掛念，沒有什麼能崩壞他的餘生。 |
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/ 陳平浩、顏士凱 |
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| 【電影新訊】《牆之魘》的情慾政治與導演林志儒專訪 |
| 對於國民黨恐佈威權之下政治悲劇的控訴，這早已不是禁忌。侯孝賢的《悲情城市》和林正盛的《天馬茶房》述說了二二八事件；侯導的《好男好女》、萬仁的《超級大國民》、曾文珍的紀錄片《春天─許金玉的故事》則揭露了白色恐怖。然而，縱使這些歷史悲劇已非禁忌，但似乎還存在著另外一種禁忌：我們似乎都避免以悲劇崇高性之外的角度，來看待這些政治事件。比如說，以喜劇昇華悲劇：羅貝托貝尼尼以德國納粹集中營為場景，拍出了一部經典喜劇《美麗人生》。比如說，以情慾政治的角度看待歷史悲劇.... |
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/ 吳俞萱 |
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| 【深度影評】提引歸途的死亡──盧貝松《碧海藍天》 |
| 《碧海藍天》裡的雅克都向我們顯示：在無法切割的時間裡，過去的那個自己仍活在同一個身體之中，以某種更生或脆弱的力量延續到未來，成為下一個自己。沒有人能夠掌握自己的源頭，只能孤獨地發現自己被拋進各式各樣的狀態。存在，從來就是他們所不是的東西、而不是他們所是的東西；不是為了成為什麼東西而存在，是為了存在本身而存在。 |
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/ 林蕙君 |
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| 《英倫情人》The English Patient |
Count Laszlo de Alm脃cy: Why are people always so happy when they collide with one from the same place? What happened in Montreal when you passed a man in the street? Did you invite him to live with you?
Hana: He needn't disturb you.
Count Laszlo de Alm脃cy: He can't. I'm already disturbed.
Hana: There's a war. Where you come from becomes important.
Count Laszlo de Alm脃cy: Why? I hate that idea.
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Count Laszlo de Alm脃cy: So yes, she died because of me. Because I loved her. Because I... Because I had the wrong name.
Hana: And you never got back to the cave?
Count Laszlo de Alm脃cy: I did get back. I kept my promise. I was assisted by the Germans. There was a... a trade. I had our expedition maps. And after the British made me their enemy, I gave their enemy our maps. So l got back to the desert...and to Katharine...in Madox's English plane... with German gasoline. When l arrived in ltaly, on my medical chart they wrote: ''English Patient.'' Isn't that funny? After all that I became English.
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